We will keep fighting for all libraries - stand with us!
Our sixth panel in the series considers Persian texts about music which were produced in the Indian subcontinent, followed by a performance of the traditional music of Kashmir on Persian poems.
Yousuf Saeed (Independent Scholar and Filmmaker) “Urdu Musicology in 20th century South Asia: Defining Religious and National Heritage”
Françoise ‘Nalini’ Delvoye (EPHE, Paris) “Studying Indo-Persian Texts on Performing Arts in South Asia (13th to 17th century): An Homage to the Contribution of Shahab Sarmadee (1914-1994)”
Assadullah Shour (Independent Scholar) “Persian tarāna with Indian Sangeet”
Pegah Shahbaz (University of Toronto) “Narrating about Music: Chapters of Musicology in Indo-Persian Narrative Literature”
Chair and Moderator: Joep Bor (Leiden University)
Performance: Saznawaz Family Ensemble, Traditional Music of Kashmir on Persian Poetry
Project Leader: Mohsen Mohammadi
00:00:00-00:07:02 - Welcome and Introduction
00:07:02:00-00:39:36 - Yousuf Saeed Presentation
00:39:36-01:16:45 - Françoise ‘Nalini’ Delvoye Presentation
01:16:45-01:47:12 - Assadullah Shour Presentation
01:47:12-02:13:10 - Pegah Shahbaz Presentation
02:13:10-02:51:42 - Q&A Session
02:51:42-03:02:48 - Break
03:02:48-03:42:08 - Saznawaz Family Ensemble Performance
03:42:08-03:42:47 - Closing Remarks
Traditional music of Kashmir is a unique case in the Indo-Persian world. Kashmiri traditional musicians play maqams that are mentioned in classic Persian texts on music, such as Navā and Busalik as well as maqams that are known in India as ragas, such as Tudi. Moreover, Persian poetry is widely used in the repertoire of the traditional music of Kashmir. The Saznawaz family is one of the remaining hereditary music traditions. Mushtaq Ahmad Saznawaz, Shabir Ahmad Saznawaz, and Mohammad Rafiq Saznawaz are the sons of the Late Ghulam Mohammad Saznawaz. The family tree goes back to Sultan Joo who immigrated from the western regions of Central Asia or Iran. The musical tradition was reportedly passed on to his son, Hadi Joo, and from him to his grandson, Sultan Joo, and from his grandson to his great grandson Wazir Joo, and then to his great great grandson Ramazn Joo who was the father of Ghulam Mohammad. Saznawaz family ensemble includes Mushtaq Ahmad on the Kamancheh (bowed), Shabir Ahmad on the Santoor (zither), Mohammad Rafiq on the Dukra (percussion), and Kaiser Mushtaq and Wajahat Shabir on the Kashmiri Sitar.
About the Event Series: The Indo-Persian Musical Confluence Symposium presents a series of performances, workshops, and presentations by academics, independent scholars, musicians and artists whose work relates to Indo-Persian musical cultures, including the Indian subcontinent, Central Asia and Iran. This collective exploration of the Indo-Persian musical exchange aims to give new prominence to its contemporary legacy while enhancing musical relationships, collaborations, and comparative research. Visit the symposium website here: https://schoolofmusic.ucla.edu/indo-persian-musical-confluence/.
Event Co-Sponsors: UCLA Mohindar Brar Sambhi Chair of Indian Music, UCLA Department of Ethnomusicology, UCLA Center for Musical Humanities, UCLA Jahangir and Eleanor Amuzegar Chair in Iranian Studies, UCLA Iranian Studies Program, UCLA Center for India and South Asia, The UCLA Center for Near Eastern Studies
Uploaded by UCLA Ethnomusicology Archive on